Parker Posey & Lisa Kudrow Reveal Secrets to Iconic Roles and Why ‘Friends’ Was ‘A Lot of Work’

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Parker Posey and Lisa Kudrow initially became acquainted during the filming of “Clockwatchers,” a 1997 indie comedy where they portrayed temp workers in an uninteresting office setting. At that time, Posey was forging a reputation as an emerging icon in independent cinema, poised to expand into more mainstream projects such as “You’ve Got Mail” and “Scream 3.” Conversely, Kudrow was already well-known, having gained stardom through her character, the eccentric Phoebe Buffay, on “Friends.

In recent years, I’ve had my share of fame thanks to iconic TV roles – Posey as the nemesis Jack on “Will & Grace,” and Kudrow as a struggling reality star in “The Comeback.” This past season, we both left our mark on different projects. Posey brought her unique charm to the character of Victoria Ratliff, a wealthy matriarch in the HBO series “The White Lotus,” while Kudrow delivered an emotionally raw performance as Lydia Morgan, a mother mourning her deceased son who claims to communicate with him through lights on Netflix’s suspenseful real estate drama “No Good Deed.

Parker Posey: We were both Nora Ephron ladies back in the ’90s.

Lisa Kudrow: I know.

Posey: What did you do with Nora?

Kudrow: I starred in “Hanging Up,” which was penned by her sister Delia. Diane Keaton took the helm as director. With Nora around, we enjoyed delicious meals daily. Later, I worked on another film that Nora directed, and John Travolta was also part of the cast — “Part of the cast” sounds a bit formal. Instead, I appeared in a movie starring John Travolta.

Posey: And he was an angel or something, right?

Kudrow: No, that was “Michael,” and that was an excellent film. This one, however, fell short of expectations. One time, Nora phoned me – I was busy with “Friends” then – and she asked, “When are you wrapping up here? Why do you persist?” I replied, “There are some valid reasons.

Posey: I remember she came up to me once and said, “Just be funny,” and that was the note.

Kudrow: It’s a good note!

User: One thing I really admire about you is “The Comeback.” I’m curious to know, where did the idea for that show originate in your mind?

Kudrow: At that time, “The Real Housewives” didn’t exist yet. However, there were shows like “The Amazing Race” and “Survivor”. These made me think, “This must be the downfall of our civilization.” For instance, on “The Amazing Race”, I saw a couple where the woman was consuming extremely spicy food and throwing up in front of cameras while her partner was shouting at her. She was crying and retching, and I thought, “Here it is, the end.

Posey: “How can I top that?”

Kudrow: “This is the end.” That made me wonder, “What if a typical person didn’t have to feel bad – what if it was an actress?” It was around the time when “Friends” was nearing its conclusion. And I just thought, “That would be quite entertaining,” diving headfirst into humiliation.

Walking this edge was fascinating since, as a spectator, I could empathize with her and at the same time, I wanted her to succeed.

Kudrow: For me, that was all the Christopher Guest movies you did. 

Chris Guest often remarks, “This isn’t too far off from reality,” before leaving, and then the scene unfolds. What makes those movies so freeing is the unplanned moments – the things we don’t consciously consider. I felt incredibly fortunate: You enter, connect with your co-star, and simply trust them.

Kudrow: I understand you’ve worked on several multi-camera sitcoms. What was that experience like for you, as it seems to be quite structured compared to other projects?

It’s similar to tap dancing where one needs to perfectly execute each move. However, it’s not strictly following a formula. What I would say on “Will & Grace” would make people laugh, but I didn’t understand why it was funny myself.

Kudrow: Was it a joke that they had written? 

Posey: Maybe. Yeah, I think so. 

Kudrow: That happens sometimes. 

Posey: It was very athletic.

Kudrow: They’re always throwing new things at you. All of us got new things as we were doing it. 

Posey: It was really fun, right? Did it feel like a sport to you? 

Kudrow: It turned out to be enjoyable. The entire experience was enjoyable because everyone involved enjoyed themselves. Phoebe was so different from who I am as a person, it required effort — I had to mentally justify everything she said to make it seem genuine and authentic for her. It was quite demanding. I recall during Season 2 or 3, I thought, “Oh my goodness, I’m not putting in the effort.” And LeBlanc responded, “What’s wrong with you? You are her. You don’t have to.

Posey: You’re like, “But I want to work.” 

Kudrow: The worst thing was wanting to be a good student. That’s what hurt me the most.

John: I enjoy completing my assignments as well. Reading “The White Lotus” was a delight, and I can’t help but marvel at the writing – Mike White penned all eight episodes, and they seem to move effortlessly.

We’ve both been doing this for 30 years, right? 

Kudrow: Yeah.

Having this middle-aged woman around during this stage of my career felt like a blessing, especially since I was already familiar with Tennessee Williams’ works from my junior high days. It was simply captivating for me, being a Southern woman myself.

Kudrow: Did you have a point of reference for Victoria? 

My father had a deep affection for William Faulkner’s works, as he was an avid reader. He also held Flannery O’Connor in high regard, along with other Gothic stories. On the other hand, my grandmother on my mother’s side used to emulate movie stars. She would visit Neiman Marcus to browse through items she admired and then create similar pieces at home.

Kudrow: Among all moments this season, what stood out to me the most was when I asked Victoria, “What if we had nothing?” Her response was the most truthful thing I’ve ever witnessed, leaving a deep impression on me. It wasn’t about gaining respect for her – it was more about appreciating her honesty.

Posey: Your words resonated with me, particularly in that line, which stood out among the eight episodes. It was clear to me what needed to be said. The rhythm is so captivating. Some prefer to ad-lib and embellish, but when things are precisely written, I appreciate how it flows beautifully.

Would you enter the “White Lotus” world? 

Kudrow: Work with Mike White? Yes. I love Mike White. I’ve hung out with him at a party. 

Posey: He gets around.

Kudrow: He’s quite sociable. Among the films of that year, “Brad’s Status” stood out as my top pick. Feeling compelled, I sent him an email to express my admiration, for it was truly exceptional and I don’t usually do such things.

Hey Lisa! Here’s an idea: You would fit perfectly in Season 4. If we can rally up a significant TikTok movement, it could become a reality.

Kudrow: Because that’s how it works. No, it doesn’t. 

There’s no telling, as it hasn’t been determined yet what Mike White is creating or where the narratives will lead.

Kudrow: I might not suit his taste, and that’s perfectly okay. However, I tend to steer clear of overly dark roles because they make me uncomfortable. But you didn’t necessarily need to, unless we’re talking about the scenes where your character’s head gets exploded. Yet, it’s all just acting.

Posey: I really felt for mothers when I played this role.

Kudrow: Right. It’s a whole other dimension. 

It struck me that women’s identities are significantly influenced by their families and the men in their lives. This led me to explore the patriarchal system that stifles authenticity among some women. She seems to have a skewed perspective of her life, which has been allowed to persist.

Kudrow: A family has its own culture. We all grew up in one. 

That’s one of the wonderful aspects of effective writing – it doesn’t pass judgment, instead, it broadens your perspective on things.

It didn’t feel like it was criticizing this time, but of course, it was, because they were at the White Lotus resort.

Mike also happens to be an actor, and let me tell you, he’s quite intriguing. You might recognize him from the reality show “Survivor,” or even its spin-off, “The Amazing Race,” where he appeared not once, but twice.

Kudrow: Oh, twice on “Amazing Race”? Wow. Likes to punish himself. 

Afterward, he opted for spending a season in Thailand instead. It seemed almost like an exploration, working for such a lengthy period in a distant, fascinating location. It was truly gratifying to find oneself outside one’s comfort zone, didn’t you agree?

Kudrow: We worked on “Clockwatchers.”

Posey: That’s where we first met. Jill and Karen Sprecher …

Kudrow: They composed it, and Jill took charge of its production. Consequently, Jill would quietly pass a message to you; they kept certain things hidden. The entire storyline revolved around the theme of mutual distrust, trust, and concealed information.

Kudrow: They created it, and Jill was in charge of it. So Jill would come over and secretly tell you something; they had secrets. The entire plot focused on not trusting each other, trust, and secrets.

She was quite timid indeed. Don’t you recall on her first day at work when she accidentally said “Cut!” instead of the usual “Action!”.

She was really reserved, and I remember that on her initial day at work, she inadvertently called out “Cut!” instead of the standard “Action!”.

Kudrow: She was amazing. However, everyone seemed so knowledgeable and competent that I often felt out of depth. So whenever she would whisper, I’d think to myself, “Oh my goodness, she’s setting the same tone.” Since you’re left wondering, “What could she be discussing?

Was there a particular atmosphere or norm among the “Clockwatchers” on the set? Is it possible that Mike adopts this, intentionally or unintentionally, as well?

Posey: It seems every director works in this manner. The allure lies in appearing as a puppet, being molded by the various perceptions and influences surrounding you.

As a movie enthusiast, I often find myself struck by moments when I realize there are intricate layers to my performances I wasn’t consciously aware of. It’s a fascinating sensation, like discovering hidden depths within a scene, where I remark, “Wow, I didn’t even know I was contributing that nuance.

It can get quite slick, and sometimes it’s tough to comprehend the situation fully. With Victoria, I found myself wondering if Tim was taking those pills, and whether she was aware of his actions. I was in a state of denial about this for some time, and even discussed it with Mike, asking, “Does she know about this?

Kudrow: How does she not know? 

Posey: She does know. Of course she knows. She’s been married to him for 30 years.

Kudrow: Did he say that?

No, but they create an environment where you can remain in that condition. I find intrigue in denial – the intuitive signals people convey and the information they decide to share with their loved ones.

Which is what you’re doing in “No Good Deed.” 

Kudrow: She didn’t seem interested in discussing her marital issues. She knew her husband well, and he wasn’t one to openly express emotions. However, they had experienced a significant loss, a situation where communication could have been beneficial. Yet, throughout this difficult time, I was acutely conscious that she lacked the professional support for dealing with grief.

Posey: No. 

Kudrow: She couldn’t talk to a therapist about it. She was on her own. And it’s so destructive. 

Posey: A dark night of the soul.

In our conversation with Liz Feldman, the creator and writer of the show, my initial query was, “Does the flickering lights scene really occur or is it just a part of the script?” To which she replied, “Yes, I believe that does happen.” This response intrigued me because I strongly believe in such instances, so I decided to join the project.

Posey: It does happen. It happens in my house.

Kudrow: I’ve observed it unfolding. My significant query was, “Will you challenge the falsehood about…

Posey: On spirit? 

Kudrow: Initially, I wondered if I should hesitate, since Lydia really requires it. This was the first point of query on my mind.

Posey: We don’t need glib. 

Kudrow: We need magic.

Production: BAUIE+RAD; Production Design: Francisco Vargas

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2025-06-06 18:18